The purpose of this article is to compare Choonhyangjeon with Love Love My Love and to study the image of woman and class consciousness in them. In South Korean films, the story of Choonhyang has become a melodrama by intensifying the love conflict in a triangular relationship. On the other hand, North Korean films, Choonhyangjeon and Love Love My Love (1980s), inspire national consciousness by realizing the theme which is the liberation of the masses. However, there’s a difference between Choonhyangjeon and Love Love My Love in characterization and esthetical figuration: the image of woman and class consciousness in two films show different effects. Choonhyang in Choonhyangjeon is described as the vestal virgin and pure-pathetic girl who devotes a pure heart for Monglyong. The other female characters, YueMei and Hyangdan, are also depicted in terms of the traditional woman’s image in which a woman follows her destiny. In Choonhyangjeon, the focus is on the change of class consciousness of Monglyong so that the subjective activity and class consciousness of Choonhyang become weakened. Love Love My Love inspires the masses consciousness through musical and creates public recognition by focusing on the love story of Choonhyang and Monglyong. Choonhyang in Love Love My Love is depicted as a positive woman by restoring her subjectivity. Also Bangja and Hyangdan play a part of spokes(wo)man for the masses by restoring their subjectivity. Love Love My Love represents this theme effectively by lively characterization and special effects, thanks to the direction of Sin Sang Ok.

The purpose of this article is to compare Choonhyangjeon with Love Love My Love and to study the image of woman and class consciousness in them. In South Korean films, the story of Choonhyang has become a melodrama by intensifying the love conflict in a triangular relationship. On the other hand, North Korean films, Choonhyangjeon and Love Love My Love (1980s), inspire national consciousness by realizing the theme which is the liberation of the masses. However, there’s a difference between Choonhyangjeon and Love Love My Love in characterization and esthetical figuration: the image of woman and class consciousness in two films show different effects. Choonhyang in Choonhyangjeon is described as the vestal virgin and pure-pathetic girl who devotes a pure heart for Monglyong. The other female characters, YueMei and Hyangdan, are also depicted in terms of the traditional woman’s image in which a woman follows her destiny. In Choonhyangjeon, the focus is on the change of class consciousness of Monglyong so that the subjective activity and class consciousness of Choonhyang become weakened. Love Love My Love inspires the masses consciousness through musical and creates public recognition by focusing on the love story of Choonhyang and Monglyong. Choonhyang in Love Love My Love is depicted as a positive woman by restoring her subjectivity. Also Bangja and Hyangdan play a part of spokes(wo)man for the masses by restoring their subjectivity. Love Love My Love represents this theme effectively by lively characterization and special effects, thanks to the direction of Sin Sang Ok.

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North Korean films, woman’s image, liberation of the masses, national consciousness, class consciousness, melodrama, musical, Sin Sang Ok